geoff fundementals pdf

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This chapter outlines the fundamental

art skills needed to execute the step-by-

step paintings shown in Chapter 3. These

skills are the technical backbone of all

representational image makingbe it sci-

fi, fantasy, or real world subject matter.

Be sure to experiment with the

techniques outlined in this chapter

before attempting the step-by-step

paintings. These technical skills add

believability and interest to artwork.

Topics such as perspective and anatomy

may feel dry at first, but they help

add vitality and dimension to

imageswithout a solid grasp of

the fundamentals, an image will always

fall short and fail to be convin

audience. Science fiction is a

genre, since it requires a grea

imagination as well as observ

Other genres allow the artist

directly from the natural wornot always a possibility when

sci-fi imagery. This chapter w

the necessary skills to take an

from your imagination to the

successfully. The strength of

always critical, so be sure to c

these skills with the conceptu

and research themes covered

Chapter 1.

Chapter

2:

ARTB

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Tr ad it io nArt basics

Traditional toolsWhile digital tools allow for fast rendering,

nondestructive alteration, and quick experimentation,

which make them very well suited to the complexity

of science fiction artwork, traditional drawing skills

are still a crucial skill for an artist to develop. Think

of these tools as a means of planning a finished

painting. Use these mediums to quickly explore

and invent subject matter. Keep in mind that these

sketches can be easily scanned and integrated into

the digital process. Mediums such as gouache,

watercolor, oil paint, acrylic paint, and airbrush have

been used in science fiction artwork with fabulous

results over the years; however, tight deadlines and

the tendency toward iteration in the design process

are leading more and more artists working in the

genre toward digital painting techniques (see page 32).

Pencil

A wide range in pencils is essential for creating

successful drawings. H2 and HB pencils are

recommended for the initial construction of the

drawing. Working with lighter lead at this stage

allows the artist the ability to clean up construction

lines as the drawing progresses. 2B, 4B, 6B, and 8B

are recommended for executing the final drawing.

Use the darker pencils sparingly to create isolated

areas of strong contrast. Darker lead becomes

increasingly difficult to erase, so leave these values

to the end to ensure they are placed accurately and

will not have to be revised.

Eraser

Think of the eraser as a drawing tool as well as a way

to clean up mistakes. Use a blade to maintain a sharp

edge on one side of the eraser when draftingdoing

sticks are quite sharp and can be destructive

to delicate surfaces. Cont comes in a variety

of colorstypically black, white, and a range of

earth tones.

Chalk pastel

Chalk pastels are an excellent way to quickly

experiment with color. They can be used in

conjunction with nearly all other mediums and are

relatively easy to erase and manipulate. Like paint,

higher quality pastels consist of higher quality

pigments and produce richer hues. Higher quality

pastels also have better flowthey apply smoothly

to most surfaces and are less susceptible to

breaking or crumbling.

Grayscale markers

Grayscale markers allow for quickly executed values

studies. These markers are a good way to add value

and shading to ink line drawings. Be sure that the

ink has dried before adding any strokes with the

markers. This is a wet medium and can cause ink to

smudge if not sufficiently dry. The different tips allow

for precision line work and quick block-ins.

Ink

Ink pens are excellent for precise line work and

crosshatching. Be careful with cheap ballpoint

penswhen mixed with other mediums, such as

markers, black ink can take on a purple tint. Fluid

inks produce light washes of color and tone. Ink

combines well with most other mediums. It dries

quickly, but be sure to allow for sufficient drying

timeit is an indelible medium but is prone to

smudging when not entirely fixed to the page.

Traditional toolsso makes the eraser a much more versatile drawing

tool. Having a soft edge and a hard edge allows you

to create a variety of lines. White cubic erasers are

recommended; prism-shaped erasers are also

desirable but can be difficult to find. Pink erasers

tend to leave pigment on the page and be more

destructive to the surface of the paper, and are

therefore not recommended. Kneadable erasers are

also an option, but tend to lack the precision of

cubic erasers.

Blending stumps

Blending stumps are useful for softening edges and

blending values together. They are suitable for use

with graphite, chalk, charcoal, and cont. They are

sold in a variety of sizes allowing for different levels

of detail and control.

Willow charcoal

Willow charcoal is a very forgiving medium. The

softness of the charcoal makes it very easy to

manipulate and edit. This type of charcoal is

recommended for the initial construction of

charcoal/chalk drawings. The medium can be

frustrating, as it is very easily smudged or removed

from the surface of the paper, and is therefore not

recommended for final rendering of images.

Charcoal sticks

Charcoal comes in a variety of forms. Typically the

more compressed types will produce lines with more

density of material; i.e., more charcoal stays on the

page. Experiment with different types to see what

produces the most desirable results. Remember,

more compression means increased indelibility.

Sticks come in square and cylindrical forms. When

deciding on shape, consider the intended look of the

drawing. Square edges will produce sharper lines.

Holding the stick sideways allows the artist to block

in large areas quickly and produce an even tone.

Charcoal adheres better to rougher drawing

surfaces, however charcoal can produce soft, subtle

effects on smoother surfaces.

Cont

Cont consists of charcoal or graphite powder mixed

with a wax- or clay-based material. This medium

works best with a rough, dense paper, since the

Traditional tools and techniques are bettersuited to the developmental stages ofscience fiction artwork, such as producingconcept sketches, and line-art for later

scanning.

Pencils

Pencil sharpener

Charcoal sticks

Grayscale markers

Ballpoint penInk and pen

Right-angle ruler

Paper

Easel

Eraser

Chalk pastels

Willowcharcoal

Paper

Choosing the right paper for the right

crucial. Most of the time its a matter

but some mediums wont adhere to c

Smooth surfaces tend to work better

markers, whereas a rougher surface i

better suited to chalk and charcoal. C

color of the paper and how it will affe

White paper allows negative space to

white value in a drawing, and when d

toned paper, whites must be added in

for the darkness of the page.

Tracing paper

Tracing paper is useful for checking t

on a drawing. Having the grid laid out

transparency allows for accuracy with

build up of construction lines (see pa

Rulers

Ruler sets containing ellipses and righ

useful for drafting architecture and in

assets. Developing a steady hand and

draw straight and curved lines freehan

desirable, but these tools allow for ad

when needed.

Easel

A standing easel allows for a more en

approach to drawing and painting. W

hunched over a drafting table tends to

the artists approach to drawing and p

standing approach allows for more ra

fluidity of motion. When standing, an

utilize the entire arm starting with the

opposed to being limited to the motio

when seated.

Spray F ixat ive

Chalk and charcoal are messy mediums and lack

permanence. The medium never dries and will

remain active and malleable for years. This causes

the drawings to substantially degrade over time.

Spray fixatives help to bind the pigment to the

surface and offer slightly more permanence to the

drawings; however, the drawings are still prone to

smudging. Be sure to carefully follow the spraying

instructions. Over-spraying or holding the can too

close to the page can be damaging. Overall, expect

a slight darkening to the drawing once sprayed.

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Digital tools and tecArt basics

Digital tools and techniquesWhen approaching apainting, the consideration ofprocess and tools is of greatimportance. Artists have a

wide variety of mediums andmethods to consider, buttight deadlines and thelikelihood of iteration andalterations make digitalpainting far more desirable.

Traditionally, mediums such as airbrush, gouache,

acrylic, and oil paint have been used in sci-fi

illustration, but contemporary artists working in the

genre can rarely afford the added time and potential

complications that arise from the use of traditional

media. Much of the theory and process of

traditional media is directly transferable to

digital painting. Digital techniques allow for

bold experimentation without any destructive

consequences. Given the highly detailed and

experimental nature of science fiction artwork, this

book will focus predominantly on digital painting

techniques; however, much of this theory can be

applied to conventional hand painting. Photoshop

is an industry standard for digital painting,

therefore instruction will be given with specific

reference to the Photoshop interface.

Basic theoryAlways work from general to specific. It is easy

to get caught up in detail far too early on in the

creative process. Focus on building the levels of

detail in a painting in a coherent step-by-step

fashion. Try to accurately establish the dominant

masses of a painting throughout the entire

composition prior to the execution of subtle detail;

doing so will prevent unnecessary repainting of

laborious detail. Imagine you are painting a figure

and have decided to focus on the face before the

overall pose is established. The face is perfectly

rendered, but once the body is further refined it

becomes apparent that the position of the head is

inaccuratethis can lead to the loss of a great deal

of work and could easily have been avoided through

adherence to diligent process.

SoftwareThere is a wide variety of software platforms

available to digital artists. Photoshop is the most

versatile and therefore highly recommended. Corel

Painter and ArtRage are also worth experimenting

with. Using 3D modeling software can be a great

way to block out the basic forms of a painting. Maya,

3DS Max, and Google Sketch Up are all suitable for

this type of work.

BrushesPhotoshop allows for an endless variety of brushes.

Basic brushes come with the program and custom

brushes can easily be created or purchased online.

In theory, the basic round brush is versatile enough

to create any painting; however, the use of custom

brushes can speed up the process significantly.

Following is a breakdown of the various controls to

define the look of a brushstroke. (All the features

can be found under the brush windowhit F5 to

bring up the brush windowadditional options are

found under Brush tip shape in the brush window.)

Shape dynamics

Tablets come with drivers that must be installed

to ensure optimized function. Turning on Shape

dynamics in the brush window makes the tablet

respond to the amount of pressure the artist applies

with the stylus. Heavier pressure will produce bolder

lines, which is very similar to how a paintbrush

responds to pressure.

Hardness

This allows for control over the hardness and

softness of edge quality. Softer brushes are easier

to blend and tend to be more suited to lighting

and atmospheric effects. Harder edges offer more

precision but can be jarring if used incorrectly. Keep

in mind that sharp detail will pop out at the viewer

and soft detail will recede into the paintinguse

this to define certain areas of a painting and take

focus off of less important aspects.

Opacity

The lower the opacity is set, the more transparent

a brushstroke becomes. In the early stages of a

painting the artist should typically use a high-

opacity brush to block in solid shapes. Lower

opacity helps to blend colors/values together and

produce softer, more subtle effects. Opacity can also

be adjusted to individual layers, thus allowing for

additional control.

Flow

Flow can be understood as a digital representation

of the viscosity/fluidity of the paint on a brush. High

flow produces strokes reminiscent of a wet media,

and low flow mimics dry brush techniques.

Spacing

Typically, spacing should be set to zero to produce a

smooth stroke. In certain situations, spacing can be

used to create interesting effects.

ScatteringExperimenting with scattering can produce

haphazard brushwork reminiscent of spattered paint.

This technique can be a good way to break away

from the often overly perfect, plastic surface quality

of digital paintings. Coupling scattering with spacing

is a great way to produce randomized strokes.

Brush-based toolsAll of the following tools can be controlled in terms

of hardness, diameter, shape, flow, opacity, and

various custom dynamics.

Paintbrush tool

This is the primary tool for digital painting;

however, there are many other tools that possess

similar functionality. All brush-based tools can be

controlled through the Brush window (hit F5 to

access this window). Quick changes to brushes can

be made by hitting the button on the tablet pen.

Alt>click on an area of the composition to sample

colors while painting. This is much more efficient

than constantly picking new colors. Some artists

may like to paint quick swatches of the colors they

intend to use in a painting outside of the confines of

the composition and then use these swatches like a

conventional palette by alt>clicking them.

Custom brushes

Any grayscale image under

2500 x 2500 pixels can be converted

into a brush. To create a brush:

Edit>Define brush preset. When

designing a custom brush, give some

consideration to the type of stroke

desired. Brushes can help to define

internal detail and edge quality.

Some brushes have a g

deal of versatility, and o

are highly specialized.

brushes to mimic tradit

mediums and to apply q

surface and texture effe

Eraser tool

Because elements can be divided into

eraser can be applied to a painting mu

eraser would be used on a graphite dr

in mind that all of the same controls a

brushes can be used when erasing, so

quality can be highly refined by using

conjunction with the brush tool.

Clone stamp tool

This tool allows the artist the ability to

specific areas of the painting with the

brush. This can be particularly useful w

A section of photographic or highly re

can essentially be used as a palette. H

from a specific area and then paint no

reproduce that area. Clone stamp has

sample options: all layers, current laye

and below. Redefine source points ofte

repetitive-looking textures.

Dodge tool

The Dodge tool allows the artist to add

a painting. Dodge will find an accurate

value for each color, which makes it m

than hand picking highlight colors. Do

range allowing for the introduction of

shadow, mid-tone, and highlight areas

only works on one layer at a time.

Burn tool

Burn allows for the adding of shadows

elements of a single layer. Burn can be

to crush colors to pure black, which is

accurate depiction of shadows. Use th

sparingly to avoid excessively dark are

Blur

Using the blur brush allows for the pre

positioning of blurs. Blur filters will aff

entirety of a layer or selection, which c

them undesirable for precision work.

Opacity

Flow

Spacing

Scattering

Hard edges vs. softedges

Shape dynamics

Brush menu

This is the brush menuin Photoshop. Experiment

with these settings to

customize the look and

feel of brushwork.

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Art basics Digi tal tools and tec

Digital hardware

Graphics tabletsGraphics tablets are vital for digital painting. Painting with a

mouse is possible, but can be extremely frustrating, since it is in

no way a reflection of actual drawing and painting. There is a

wide range of options when selecting a tablet. A 6 x 8 in. (15 x

20 cm) workable surface is recommended. Anything smaller can

be awkward, and the larger tablets are difficult to transport.

Monitor-based tablets are also available. These are the most

expensive option, but are well worth the investment. Standardtablets translate the artists drawings from the workable surface

of the tablet onto the screen, which tends to feel a bit unnatural

at first. Monitor-based tablets are a closer representation of

analog drawing and painting, since the pen is applied directly to

the image. If you usually work in traditional mediums, you may

find the transition from traditional to digital tools challenging,

since the surface of the tablet is much smoother than paper. Try

placing a sheet of paper over the surface of the tablet. This will

offer slightly more resistance when painting and produce a more

natural feel. However, the paper will cause the tip of the pen

to wear down at a faster rate. Be sure to correctly install all

relevant drivers and software to optimize the performance of

the tablet.

Dual monitor work stationHaving two active monitors allows the artist to view reference

material while painting without having to shuffle back and forth.

This style of workstation is an industry standard for digital

artists. Be sure to adjust the monitors so that the image is not

stretched. Any distortion to the heightwidth ratio will give aninaccurate representation of what the final printed image will

look like.

Scanner/printerCombination scanning and printing units are a desirable piece of

equipment for digital artists. Being able to scan hand-rendered

sketches is an aid to the artistic process, since it allows you to

combine traditional and digital elements. Printers are helpful for

the examination of your work. Getting the work off the computer

and reviewing a printed image is a valuable exercise.

TI P In this instance the planets have been blocked in usingtheir mid-tone value. This decision was made to ensure that

they pop out and read when placed on a black background.

Often objects will be blocked in using their shadow value,

but in this case the planets would have blended into the

background. Blocking in objects based on their highlight

value is not advisable. This would create extra work, since

shadows tend to be an objects dominant spatial mass.

ApplicationThe rendering of this planetscape will demonstrate a

standard approach to digital painting, which can be

applied to the exercises in this book.

1 Preparation: Begin in grayscale to establish the

overall value range (spread of lights and darks). Use

a large brush to block in the dominant shapes of the

composition. Keep the edges hard to promote visual

clarity and definition.

Divide layers based upon depth. The layer lowest

on the hierarchy should express the area farthestaway from the viewer. Dividing the layers in this

fashion allows for greater control, and a logical

layout of assets. Control>click on the thumbnail

image of the layer (found in the Layers window) to

make a clean selection of the contents of that layer.

These layer selections allow color and detail to

be added only to the desired area without any

lengthy cleanup.

2 Blocking in: Lay in solid black to express the void

of space. The Paint bucket tool allows you to block in

large solid areas quickly. Simply select the tool and

click on an empty layer to fill.

3Defining planets: Select a large, round brush

with a hard edge, and make a single mark to define

the shape of the planet. Use the Transform tool

(Edit>Transform) to make adjustments to the scale

and position of the object and add the second planet.

4Adding layers: Layers can also be used to do

quick experimentations. Any changes that could

potentially be destructive to a painting should be

tested on a separate layer so that they can be easily

discarded if deemed to be undesirable.

5Ground plane: Again, use the mid-tone value

to block in the basic shape. A hard brush set to

100% opacity allows for clearly defined silhouettes.

The standard round brush with Shape dynamics

turned on is suitable for this portion. Use slightly

less pen pressure at the tips of the shapes to give afiner line. Brush size could also be reduced when

dealing with the edge detail, but relying on pen

pressure makes for a faster execution.

6Basic ground plane shadow: Apply a basic

shadow to the planets and ground plane. The

shadow can either be applied directly to each of the

corresponding layers, or in three separate layers

each positioned directly above the corresponding

asset. More layers means more control, but it can

also make for larger file sizes. To minimize file size,

merge layers together once the desired appearance

is achieved (Layers>merge layers).

7Light source: Before painting of the shadows

is done, a decision about the light source must be

made. One of the keys to good painting is the use of

highlight and shadow to define volume. In addition

to creating volume, lighting also affects the overall

composition. So, give some consideration to what

sorts of shadows and highlights will be created

based upon the positioning of the light source.

Once a light source is decided upon, be sure to

remain consistent with the application of highlights

and shadows based upon that light angle.

8Planet shadows: Make a layer selection of

the planet shape. With this selection made, paint

strokes will only affect the selected area. Use a

large, soft brush with full opacity to apply the

shadow. Simply tap the pen on the su

tablet once to get a spherical shadow

edge on the brush creates a smooth t

from shadow to mid-tone; if a harder

were used, the results would appear j

unnatural. The shadow color can be s

the black of the background.

9Ground plane shadow detail: De

shadow side of the spikes with a hard

Consider the base geometric structur

features and how light would hit the sshadow can express a small amount o

detail, but dont get caught up in a lo

painting at this stagefocus more on

basic volumetric structures of the pai

upon the angle of the light, cast shad

appear on the ground. Drop the opac

hardness down to roughly 20% when

shadows. The shape of the shadows

the light angle, but also accentuates

land. The right side of the ground pla

subtle incline; make sure the shadow

travel up this incline.

10Highlights: With the mid-tones a

defined, the highlights can be tackled

highlights can be applied with a lighte

corresponding to the angle of the ligh

Photoshop offers other possibilities. H

executing highlights quickly. Make a n

the Blending mode of the layer to Co

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14

15

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Art basics Digi tal tools and tec

TI P This generalworkflow should be

considered when

approaching the

paintings in Chapter 3.

Other specific

instructions will be

given when relevant.

Using the Paint bucket tool, fill the layer with solid

black. Because of the blending mode, the black will

not be visible. Now select the Dodge tool and set

the range to Shadows (if using Photoshop CS5, turn

off Protect tones in the Dodge options) Use this

brush to define the areas of highlight. Subtle detail

can also be introduced into the shadow areas with

this method. Let some of the mid-tones show

through; dont push the painting of highlights so

far that the values transition directly from highlight

to shadow. Again, consider the geometric properties

of the various objects. The planets are spherical,so use an ellipsoid rim light to define the highlight

area. The tops of the spikes are much flatter, so let

the motion of the brushstrokes reflect this. The

direction at which a brushstroke is applied helps

to define the volume. Layer selections can still be

made to avoid painting highlights outside of the

parameters of the various shapes. If you make a

mistake, simply paint with a solid black brush to

eliminate highlights. The highlights should give a

rough description of the surface/texture of these

objects. Keep in mind that highlight and shadow

are used to express volume, so only apply highlights

to the portion of the object facing the light most

directly.

11Basic color pass: The most efficient way to

perform this color pass is to create a new layer and

set the Blending mode to Overlay. Then simply use

the Paint bucket tool to fill the layer with the desired

color. This method allows for quick exploration of

different palettes. Start with one color and then

use Image adjustments to manipulate the color

and experiment with different looks. Start by simply

adding one color to express the overall atmosphere

of the scene. Additional colors can be added in later

passes. The palette of this specific image is quite

limited, so a one-color pass is useful in defining the

overall look; however, more complicated palettes

may call for a wider spread in hues at this

preliminary stage.

12Adding fine details: Some finer details can now

be added to the surfaces of the planets and ground

plane. The smaller planet is a gas giant and should

have softer detail. Use a brush set to 20% hardness

and 20% opacity to define this area. Ensure that the

detail doesnt obliterate the treatment of highlights

and shadows. Source some reference material to

ensure accurate results. Make sure that detail reads

as being organicif the brushstrokes run straight

across horizontally, the 3D spherical structure of the

planet will appear to flatten to a 2D circular shape.

13 Basic planet terrain: A basic impression of

terrain is given to the larger planet. Add small hits

of orange light to create the sense of cities on the

distant planet. Rather than painting each individual

light, turn on the Scatter setting to give quick,

randomized pockets of detail. The Scatter settings

can be fine tuned to produce the desired result.

Experiment with different scatter settings to define

these distant cities, but make sure that the scale of

detail appears accurate.

14Texturing 1: Use photographs such as the ones

opposite to define the surface of the ground plane

and larger planet. Open your photos in Photoshop

and drag them onto the painting. The photo will

automatically become a new layer. Make sure to use

photos of an equal or higher resolution to the rest

of the painting to ensure high quality and consistent

results. Set the Blending mode of the new layer to

Overlay. The colors of the photo will be apparent.

The colors can either be corrected using Image

adjustments to match the painting, or removed

so that only the texture from the photo is added,

and the color omitted. To remove color, hit

Image>Adjustments>Desaturate. Useful tools for

color matching include Hue and Saturation, Color

Balance, and Levels. All of these options can be

found under Image>Adjustments. Use the

Transform tool to conform the details of the texture

to the structure of the objects. If the texture were

applied without any sort of transformation, the

objects would appear flattened. Make sure that the

scale and flow of detail corresponds to the earlier

painted portions.

15Texturing 2: The texturing task is best divided

into logical sections. Begin by simply texturing the

ground plane. Use the Warp function to account

for the slope on the right side of the ground plane

(Warp is one of the Transform modes). The spikes of

rock should each be handled individually to ensure

that the flow of the texture corresponds to the flow

of the structure.

16Texturing 3: Texturing the larger planet is more

difficult, since the spherical shape requires special

attention. Use Warp to pull the corner points of the

texture in toward the center of the spherethis will

give the texture the appearance of volume.

17Atmosphere development:The atmosphere

must remain very thin to maintain the visibility

within the outer space scene. Create a new layer.

Use a large, round brush set to 0% hardness and

10% opacity, and paint a stroke to represent a low-

lying dusty atmosphere on the ground plane. The

brush should be large enough that this pass is

executed in one stroke.

18Rendering detail: The basics of structure,

highlight, shadow, mid-tone, color, and texture are

now established. Switch back to a sm

brush and begin to render additional

detail should help to merge the appea

photos with the rest of the painting. T

closer to the image at this stage to ge

of the finer detail. Custom brushes m

this stage. When selecting a custom b

brush with an edge quality that repre

shapes seen in the texture. This will m

strokes blend seamlessly with both th

photographic aspects of the painting.

19Detail refinement: The clone sta

also be very useful at this stage of the

overall shapes of the rocks in the fore

somewhat simplistic and require refin

image is already so detailed that pain

new portions to the rock structure wo

labor intensive. Instead, use the exist

detail as a palette and define the desi

texture by Alt>clicking them. Then re

texture as needed to add more detail

Frequently redefining the source point

areas helps to avoid a repetitive look

20 Background fine detail: Finally,

can be added to the background. Som

appear brighter and larger than others

stars, simply dot the brush once. Sett

tool to Diamond gradient will help t

halos to the stars.

Blending modesThe screengrabs below show

how to access blending

modes. Using blending

modes is a great way to

add color, light, shadow,

and texture to an image.

Experiment with the variousmodes to become familiar

with the possible results.

Using texturesPhotographic textures allow

an artist to add a convincing

surface quality to a painting

without the need for

laborious rendering. Takecare to ensure that the

photographs merge

naturally with the

painted elements.

Transform tool

Transform is a powerful

tool. This is a great way

to quickly alter the scale,

orientation, perspective,

and proportion of a layeror selection.

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ComArt basics

CompositionComposition is the underlying structuralarrangement of an image. Arrangementis equally as important as content. Apoor composition can detract from the

legibility and beauty of an otherwiseinteresting painting. Conversely, a strongcomposition can make even the mostmundane of subject matter engagingand visually compelling.

Focal placement

This elaborate metropolis is rich withinteresting detail. Positioning the ship on

the axis point of the grid allows for an easy

read in spite of the complexity of the image.

A strong composition reinforces the hierarchy

of visual elements of a painting while taking

aesthetics and balance into mind. While there are

no hard rules for creating a successful composition,

there are certainly tried-and-tested guidelines,

which can aid the process significantly. In science

fiction artwork, the artist is confronted with a

barrage of detail and complexity. Without an

understanding of composition, an expertlyrendered, wonderfully intricate painting can fall

short. Seeing through the complexity of an image

to the underlying simplicity of the composition is

a vital skill.

All images exist on an abstract level. The

squinting of ones eyes reveals the base forms of an

image. Blur filters in Photoshop can also help in the

examination of a paintings primary structure. On a

subconscious level, the viewer perceives the overall

shapes, position, and balance of a composition

before they examine the subtleties of the content.

If a painting is unsuccessful on this base abstract

level, it will not capture an audiences attention.

Start simpleBefore delving into the realm of science fiction,take a look at more simplistic approaches to

composition. Try to apply the harmonious simplicity

of traditional Zen imagery. These minimalist

compositions express the foundation upon

which much more sophisticated imagery can be

developed. Look to traditional landscape imagery

and portraiture as a starting point for entering the

complex world of image composition.

Preparing or examining a compositionBelow are some guidelines and elements to

consider, which will help you recognize and create

great compositions.

Focal clarity

The focal point of the image should be immediately

clear. The placement of a focal point is crucial.

Typically the focal point should fall on or close to

the intersection points on the rule of thirds grid.

This grid divides the canvas into thirds on the

horizontal and vertical planes. The intersection

points are well-suited focal areas. Focal points that

fall dead center tend to create a sense of stasis. A

strong composition should lead the viewer through

the entire scene. Placing the focal point too close to

the edge of the canvas tends to create tension and

again disrupt the flow of the image. A

have a variety of focal areas, but whe

elements are introduced it is importa

a logical visual hierarchy to the image

variety of interest in a painting is grea

sure that supporting elements do not

dominant. Focal points are created no

successful placement of elements, bu

the implementation of different types

contrast. See Color theory (page 51) f

breakdown of different types of contr

Number of elementsAs a general rule of thumb, composit

an odd number of elements tend to b

successful. Creating a triangulation b

areas establishes a more fluid path th

dominant elements, which tends to cr

of visual competition. However, this c

desirable in an image expressing two

Be conscious of these sorts of decisio

than treating these guidelines as hard

try to use them strategically to suppo

and narrative behind each image on a

case basis.

Avoid dead zones

Dead zones or dead ends refer to area

painting that disrupt the overall comp

compositions aim to create a visual p

the viewers eye through the scene, thviewer to take in all the various eleme

painting. The awkward placement of e

cause tension. One frequent cause of

referred to as kissing elements. Thi

two elements are just barely making

better to either have elements definit

space them in such a way that they h

room to read individually. Dead zones

come as the result of empty areas be

dominant. Negative space is importan

breathing room to the various elemen

painting and helps to fight visual con

when this empty space becomes too

viewers eye can get trapped in a dea

stay there. Be sure that the negative s

the overall flow of the composition as

making the path of the eye stop dead

Creative cropping

As an image develops, try experimen

various crops and extensions to the c

additions or subtractions made to an

aim to strengthen the composition. W

digitally, the artist has the option to e

a nondestructive fashion with various

extensionsmake sure you utilize thi

Seeing through detail

Heavy detail without a focus

on composition simplywont read, so check thebase forms of your

composition.

Classical sources

Look to the past for

compositional inspiration.

Countless possibilities

have been exploreduse

this wealth of imagery as ajump-off point to create

new arrangements.

Poor placement

Notice how the flow of this image is

interrupted by the placement of the

elements. Awkward positioning can destroythe overall harmony and legibility of a

composition.

Unearthly by LorenzHideyoshi Ruwwe

A series of well-placed

focal points leads the

viewer though this

interesting environment.

This painting demonstrates

a strong use of foreground,middle ground, and

background elements to

create a sense of space,

structure, and scale.

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Composit ion Shape lArt basics

Shape language in action

This image appears detailed at first glance, but it is very

basic in terms of composition. The setting is a military

barracks, so it needs to appear sturdy. The primary shape isa cube/square. Domes/circles serve as secondary shapes.

The cylindrical exhaust stacks are the tertiary accent shape.

In focusing on details, its easy to lose sight of

harmony and create something that is rich in detail

but visually chaotic.

Deconstructing shapesWhen constructing a form in a drawing, its

important to have a good understanding of the

geometric shapes that comprise that object. When

composing an image or designing something, it

is also important to be conscious of why you are

selecting those specific shapes. Just because

something is drawn accurately doesnt mean it

is a successful solution to a visual problem.

Shapes have underlying connotations. There

are subtleties to these rules, but typically rounder,

softer shapes will convey benevolence and sharper,

more jagged shapes will imply malevolence. Strong

solid shapes can communicate strength, whereas

thin, delicate shapes can denote fragility and

weakness. Plan your shape language in the same

way you plan your composition and palettewith

hierarchy in mind.

Recognizing and using shapesKeeping a recipe or language of specific shapes

in mind helps to keep the image from becoming

unmanageable. These shapes can be geometrically

primitive or infinitely complex. Whatever avenue is

explored, try to keep either rhythmic consistency or

deliberate contrast in mind. Give consideration to

the negative spaces as wellthese shapes may not

be the focus of the image, but they help to balance

the composition and tie elements together. When

examining successful artwork, try to see through th

intimidating complexity and sophistication of the

image to the underlying language of abstract

shapes. Being able to see past the literal aspects of

the subject matter to the subtleties of the forms and

how they relate to one another is a useful artistic skil

Shape language

Value range

A wide range in values (lights and darks) helpsto create believability and interest in a painting.

A strong contrast in value will create an area of

interest. Images with a low range in values tend

to appear flat and lifeless. Not all images need to

portray a full range in values, but an extremely

limited range will detract from the quality of the

image. Consider the composition from an abstract

perspectivethe eye is drawn to areas of contrast,

therefore if values are carefully placed, it is

much easier to reinforce the intended visual path.

Seeing value in a color image can be challenging

Photoshop allows the artist the ability to desaturate

an image. Run this check to ensure the colors are

expressing a wide range in value.

Unity

Compositions should feel harmonized. Shapes,

values, colors, and placement all attribute to thesense of balance. Scrutinize paintings for areas that

feel out of place or distracting. Harmony cannot exist

without the elimination of disruptive elements. Use

the foundational concepts in this chapter to identify

and eliminate disharmonious elements.

Flip the canvasPhotoshop makes it easy to flip a canvas

both horizontally and vertically. A composition

should appear balanced regardless of how it is

flipped. The logical structure of the painting may

collapse once the image is flipped, but the overallabstract underpinnings of the painting should

remain balanced.

Simplicity

Consider the use of basic geometric forms to

underpin the flow of a composition. No matter

how complex a painting may be in terms of

subject matter and rendering, the overall flow

of a composition should remain relatively simple.

Try to implement basic shapes like circles, zigzags,

diamonds, triangles, and figure eights to establish

visual pathways. Being too obvious in this approach

can make a painting feel contrived, therefore some

disguising can be necessary. However, some

compositions call for a very balanced pathway,

particularly symmetrical compositions. Symmetry is

difficult to pull off, but when done effectively it can

be extremely powerful. Consider its use relativeto the narrative of the image. Symmetry conveys

stability and balancemake sure you are using it

for the right reasons.

Compositional use

of valuesNotice how the areas of

high contrast in values are

positioned in focal areas

this helps to draw the eye

to the correct areas.

Finding balance

When working on a painting

for an extended period of

time, it can become difficultto objectively analyze the

image. Flipping the canvas

allows the artist to take

a fresh look at a painting

to see if anything is out

of balance.

Basic shapes

Create visual paths based

on basic shapes to guide

the viewers eye through a

scene. The path can remainvery simple, no matter how

complex the subject matter

may become.

With so much detail andcomplexity in science fictionartwork, its difficult to knowwhere to begin, and how to seethe big picture without gettinglost in details.

If this tertiary shape were too domi nant, it would detract

from the overall stability of the structures, but as an accent

it provides a subtle visual contrast that gives the scene

more interest. Keep this hierarchical approach in mind whedeciding upon shapes.

this looks like its a subhComposition (see runnithe heading therefore b

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1

2

3

4 5

Art basics

AnatomyAnatomy is the backbone of successful figuredrawing. Early artists paralleled doctors in theirapproach to understanding the human form.Now a great deal of material exists to describe

the inner mechanics of the body, and artistscan forgo a trip to the morgue.

Life drawing, or drawing from a model is the best

way to sharpen your observational drawing skills

and gain a stronger understanding of anatomy.

Medical anatomy courses are valuable for artists

who desire a deeper understanding of the body and

its form and function.

Gesture drawingGesture drawing aims to express the primary energy

and weight of a specific pose. Gesture drawing

should be approached quickly and energetically, but

with a keen eye for proportion and weight. Look for

the aspect of the anatomy that is bearing the weightof the figure. Express this tension in the execution

of the gesture. Gestures can be reduced to one

linethis line is known as the line of action. When

beginning a figurative painting, try to express the

entirety of the energetic properties of pose in one

decisive line. Once that line is established, build up

a basic gesture drawing to define the pose.

Getting under the surfaceDepicting the human form without an understanding

of the inner workings of the body will cause the

drawings to appear flat and stiff. The human body is

fantastically complex and intricatethe surface of

the form offers a mere glimpse of the entirety of the

form. These drawings illustrate the muscular and

skeletal systems of the body. Drawing with an

understanding of these systems leads to more

accurate portrayals of the surface of the body.Pay close attention to the anatomical features

that are visible on the surface of the bodythese

structures help to define the subtleties of the

bodys mechanics. Alien Princess Zoethomae byAdriana Nieto

This image shows an imaginative

exaggeration of the human formthe

result feels alien, yet possible and

functional. Striking this balance isvital when designing alien characters.

Quick gesture

To begin a figurative sketch,

perform a gesture drawing.

Try to express the weight,

proportion, and energy of

the pose as quickly andclearly as possible.

Astronaut soldier

Heavy armor is necessary to this design, butits important to convey the idea that there is

a human being under there.

Anatomy in motion

Understanding the skeletal system

and how it moves is an i mportantexercise when learning anatomy.

Try placing a sheet of tracingpaper over a photograph of a

human in motion, and draw the

skeletal structure of that figure.

Muscular system

Use this figure as reference for humanoid figuresand a starting point for the creation of more exotic

creatures. Understanding these muscle groups will

add believability to your work.

Science fiction presents unique challenges pertaining

to anatomy. Consider the armor design of this

astronaut figure. Armor has to be designed with a firm

knowledge of the bodys proportions and movements.

The armor must accommodate the figures range of

movement (this will be reduced due to the bulk of

the armor) as well as the physical structure of the

inhabitant. Developing armor step-by-step is useful

in ensuring a harmonious relationship between the

function of the armor and the form of the figure.

The creation of alien figures is an interesting

anatomical exercise. The possibilities for

the appearance of alien life are innumerable.Anything is possible. However, much of the

successful alien designs use human anatomy

as a foundation.

1 Consider the variation of human body types,and how those variants could be exaggerated

to create new creatures.

2 Push that exaggeration one step further tocreate something even more alien. Elements

of animal and insect anatomy can be blended

with the human form to create unique body

types. No matter how exaggerated or bizarre

the forms may become, always ensure thatthe body still looks capable of movement.

Ensure that the anatomical design decisions

support the intended concept.

3 The marine-inspired design demonstratesthe extent to which a creature can be

manipulated. Science fiction offers

the chance for profound invention and

imaginationsometimes its best to

simply let your imagination run wild.

4/5 The face is typically the and interesting aspect of any

head studies is a good first sconceptualizing a fictitious cr

designs show two possibilitie

heads. Look to the animal kin

inspiration. As the appearan

entirely speculative, have fun

process and try to conceive u

that dont depend upon exist

Armor study

Alien creatures

1 Start with a sketch of a soldier in his regularfatigues.2Build up his armor with a secondarychest and shoulder plate. 3Add on portions ofarmor, piece by piece, to ensure the anatomyfits.4 The human hand reaches to the end of thewrist in the armor and controls a robotic hand.5Segmented abdominal pads suggest that thefigure will still be able to bend. 6 Position theshoulder-mounted cannon.

1 2 3 4 5 6

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Pe rsArt basics

PerspectiveThe method of drawing and paintingin accurate perspective is commonlyattributed to Brunelleschi, c. 1415. Priorto this development, paintings tended

to appear flat and out of perspective,as they were not a true representationof spatial relationships as they occurin the natural world. Perspectivecommunicates the relative position ofobjects to the viewer and each other.

Introducing perspective

Drawing with accurate perspective can seem

laborious and stifling at first, but the results are

worth the effort. Perspective offers tangible three-

dimensional properties to an image and adds to

the volumetric illusion that makes representative

artwork so captivating and impressive. Furthermore,

a disregard for perspective discredits an artists work

as it shows a lack of fundamental comprehension of

foundational art skills, and an inability to accurately

depict objects in space.Perspective exists in several common schemes

or grids, which are generally referred to as

one-point, two-point, and three-point perspective.

These three methods can be combined to produce an

endless variety of results. With the three primary

forms of perspective understood, an artist can

accurately depict any conceivable form.

Choosing the right vantage point

An understanding of the methods used to create

accurate perspective is vital, but it means little

without the foresight to use it appropriately.

Perspective helps to ground a viewer in the

scene. Give thought to the location of the optimal

vantage for each scene. When used appropriately,

perspective becomes a very useful storytelling tool.

Low-angle shots can be used to make an object

appear large and powerful. High-angle shots cancreate a sense of weakness when applied to a

figure; conversely, high-angle shots can create

a sense of vertigo and altitude when applied to

an environment.

Three dimensions

All forms in 3D space consist of an x-, y-, and

z-axis. All perspective scenarios contain one

or more vanishing points and a horizon line.

The vanishing point is the area where lines of

perspective convergethis convergence will

invariably fall on the horizon line. The horizon line

is the point at which objects appear flat to the

viewer, or directly aligned with the viewers line of

sight/eye level. Objects below the horizon line will

be viewed increasingly from above, meaning that

the viewer will be able to see more of the top

surface of a form as it recedes below the horizonline. Objects above the horizon line increasingly

display their underside as they move upward. The

top and bottom surfaces of an object will not be

visible if located directly on the horizon line, as they

are flush to the eye level of the viewer. Keep in

mind that the horizon line can be tiltedthis

introduces another element to the equation. If the

horizon line were straight, all vertical forms (i.e., the

Cubic volume

This image shows the

x-, y-, and z-axis of a cubic

volume. With the basic

structure of a cubeunderstood, more complex

shapes can be addressed.

Initially, a cube can be used

to describe the footprint of

any object. Drawing with

cubic space in mind makes

a grid much more versatile

and accurate. All shapes canbe contained within a cube

or series of cubes, no matter

how complex.

One-point perspective

Tracing the lines of perspective on a

photograph is a good exercise to

undergo before attempting to drawin perspective.

This alleyway is constructed using a one-point perspective grid. Although the grid issimple, the sense of space is convincingly

established and the volumetric properties of the

structures feel tangible. Notice how the lines of

perspective pull the viewers eye into the page.

Be sure to conform all lines othe perspective grid. Scrutinizetracing its trajectory to the vani

doing so will ensure accuracy. O

can ruin the whole scene.

On e-point perspective

Horizon line Vanishing point Lines in perspective(z-axis)

Cubic primitives

The term one point refers to the fact

that this perspective scenario contains

one vanishing point. Another way of

looking at it is that only one axis is in

perspective, in this case, the z-axis.

A good way to familiarize yourself

with perspective is to establish the

perspective grid on a photograph. Trace

two or more structural lines on the z-axis

of an object and find the point at which

these lines converge. This point of

convergence is the vanishing point. All

other structural lines on the z-axis should

correspond to this vanishing point. Being

able to identify the vanishing point in a

photograph is useful as it can be deemed

accurate (provided there is no distortionto the lens).

How to draw: This is the most commonand basic form of perspective, but it

can create very compelling effects. Start

by blocking in the basic shapes of the

painting. Some artists may prefer to start

with the grid and add the shapes on top

to ensure accuracy. Others may choose

to do an initial block-in unencumbered

by the constraints of a grid, and then

add the grid later to clean up any

inconsistencies in the shapes. Some

revisions are inherently necessary

throughout the execution of a painting

or drawing. Having the perspective grid

on a separate layer on the top of the

hierarchy in digital projects is advisable.

For traditional artwork, tracing paper can

be a good way to handle perspective,since the construction lines tend to be

messy and can detract from the overall

appearance of the artwork.

y-axis of a cubic structure) would run straight up

and down at 90 degrees. The vertical lines are

relative to the horizon line; if the horizon line

rotates, so must the vertical lines. Straight vertical

lines should always create a right angle relative

to the horizon line.

Breaking shapes down into cubic forms makes

them easier to integrate into a perspective grid.

When working with shapes such as cylinders and

spheres, try to envision them contained within

a bounding box (a cube that represents their

spatial footprint).

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Pe rs

Two -point perspective Th re e-point perspect ive

How to draw:This image uses a three-pointperspective grid to convey a sense of

action and altitude. Keep in mind that

three-point perspective can be used in an

inverse fashion with the y-axis vanishing

point located below the scene.

Notice how the horizonTo determine if a horizon

connect the x and z vanis

with a straight line and o

angle of the line. Use cub

to define the footprints o

buildings if needed.

Horizon line

Cubic primitives

Vanishing point zVanishing point x

Two-point perspective allows the artist to

express a vantage point where both the x-

and z-axes are in perspective. Typically

this scenario depicts the corner of a

structure.

How to draw:When establishing thegrid, pay careful consideration to each

axis. Its easy to confuse which axis should

correspond with which vanishing point.Visualizing forms in terms of their base

cubic structure can help to eliminate any

confusion. Once the x and z vanishing

points are established, draw a straight line

connecting them. This is the horizon line.

If the horizon line is not straight, keep in

mind that the lines on the y-axis have to

correspond to this rotation.

Three-point perspective takes into account the

principles of two-point perspective and introduces

a third vanishing point to account for vertical

distortion (the y-axis). Typically this comes as the

result of an extreme vantage point, i.e., from the top

of a building looking down at the street below, or at

the base of a large building looking up. The vertical

lines no longer appear straight; they too will conform

to a vanishing point when this distortion is present.

When looking down at an object the third vanishing

point will appear well below the horizon linethe

opposite occurs when looking up at an object. With

all perspective drawing, the vanishing point may fall

outside the confines of the composition. In digital

projects, a simple canvas size adjustment can

accommodate this issue. Traditional mediums often

call for very large sheets of paper to determine

construction. Three-point perspective typically

requires the most working space, since t he vanishing

point tends to be farthest from the horizon line. This

type of drawing can become quite complex and is

better understood once the finer points of one- and

two-point perspective are grasped.

Art basics

Two-point perspective allows for athorough representation of the architectural

forms in this drawing. A great deal about

the layout and visual style of this city

is communicated in this quick sketch.Showing the perspective on multiple axes

communicates more about a form than

drawing with a single axis in perspective.

As the drawing becomes more detailed,it becomes easier to confuse which vanishing

point relates to which line. Analyze the

drawing as it relates to the gridbe sure thatall forms are corresponding to the correct

vanishing point.

Horizon line

VanisVanishing points y-axis

Vanishing points z-axis

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1

2

Art basics

Moonwaterby Angel AlonsoThis image shows a

successful integration

of vehicles, architecture,

characters, and industrialdesign elements. Well-

conceived designs and

a mastery of technicaldrawing allow an artist the

ability to create the sense

of reality in the unreal.

AbstractionOnce you understand the basics of volumetric

drawing, you can explore the more complex

aspects of design. Science fiction requires a great

deal of invention, since many of the desired

aspects simply dont exist. Approaching the design

of brand-new elements requires a creativeapproach. The concept of abstraction is a very

valuable tool when tackling challenging designs.

Abstraction is the process of taking inspiration

from the characteristics of an existing object and

applying certain aspects of that object to the

invention of something new. The aspects drawn

upon can be visual, behavioral, or both.

In the example opposite, the challenge is the

conceptualization of a futuristic weapon. Before

the pencil hits the paper, its important to

understand whats needed so that a reasonable

solution can be worked out. The idea for this

weapon is a pulse gun, a powerful weapon capable

of delivering heavy blasts of destructive energy.

Slow to reload and somewhat cumbersome, but

effective in short bursts, the gun is built for brute

force as opposed to tactical precision. The gun

would emit a large burst of energy, so it shouldappear front heavy. The handle should

be easy to grasp, with the bulk of the form in the

front section.

A big part of design comes from asking the right

questions. In this casewhat in reality possesses

these characteristics? What is both powerful in

stance and perhaps wild and chaotic in its attack? A

buffalo comes to mindstrong and powerful but

devoid of precision and subtlety. Footage of an

enraged buffalo shows thatwhen provokedthe

animal is capable of a great deal of destruction. The

body type is also suitable, since it holds most of its

weight in the front region, much like the intendedform of this weapon.

1 Begin with a comparative thumbnail analysis:

Take attributes of the buffalos silhouette and

translate them into the functional components

of the weapon. The abstraction should serve as

an inspiration, not a mirror. If the silhouette of the

creature is too prominent in the design, it will

appear contrived and somewhat silly. Strike a

balance between conventional weapon components

and elements inspired by the form of the creature.

2 Two-point perspective offers a descriptive view

of this design. Give consideration to the various

materials used to create this object. The impression

of a blue light source helps to define the metallic

areas. When rendering polished metal, keep in mind

that the most intense highlights will appear directlynext to the highest saturation reflections. Seams

and bolts help to communicate the construction

of this weapon. Make sure the gun handle

accommodates a human hand. The object should

appear to the viewer as if they could reach into the

page and grab it.

Vehicle designThis book explores increasingly complex vehicle

designs. At the outset, its best to master something

relatively simple in form. This military transport

vehicle is a good foundational study. Two-point

perspective offers a descriptive representation of

this vehicle. Showing simply a front, side, or top

view would leave much to the imagination. Often

2D artists are employed to design elements to bebuilt by 3D artists for various projects. Being able

to draw descriptively in accurate perspective is a

huge asset.

Truck in progress

The overall shape of th

which makes the base

to determine. A primiti

can be used to commufootprint of the vehicle

in mind that each addi

coincide with that initiaadded element brings

complexity to the grid.

Final truck design

As a military transport

would have to be struc

and large enough to ac

a large number of pass

end appears durable aramming through obst

such as door handles g

big a human would be

vehicle. Make sure th

are consistent through

With the basics of perspective grasped,the rendering of complex subject mattercan be explored. Sci-fi environments are

rich with vehicles, architecture, andindustrial design assets.

Rendering complexelements

These sorts of man-made items are challenging to render and

equally difficult to invent. Use the perspective concepts

outlined in the previous section to depict this type of subject

matter with a sense of accuracy and visual interest. This

section will also address abstraction, which is a helpful

catalyst in the design process.

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1a

1b

3

5

7

ColoArt basics

ART

BASICS Color theory

Color is one of the most difficultaspects of painting to master. Theobservation, reproduction, andconceptualization of color are as

much a science as an art form.

Future Cityscape by UweJarling

A bold use of color helps to bring thisscene to life. Contrast is achievedthrough a use of opposing color

temperatures and contrasting levels

of saturation.

Careful observation of the subtleties of color in

the natural world is a good place to start. Take

note of the colors found in the highlights and

shadows of objects in the world. Its wrong to

assume that all shadows are black and all

highlights are whitethere is always color

present at some level, and it takes a keen eye

to isolate exactly what is being observed.

The color wheelWhile this type of critical visual analysis can take

years to develop, there are guidelines that can

help make the challenges of color easier to grasp.

The first concept to familiarize yourself with is the

color wheel. The color wheel begins by taking thethree primary colorsred, yellow, and blueand

spacing them equidistantly on a circle. The

primary colors are the colors from which all other

hues are mixed. (The word hue can be used

interchangeably with color.) The next step in

establishing the color wheel is to show the

secondary colors. Secondary colors are the hues

produced by mixing the primary colors together

(red + blue = violet, blue + yellow = green, and

red + yellow = orange). The colors are placed in

their respective areas corresponding to which

colors have been mixed to produce them; for

example, orange will appear between red and

yellow. The secondary colors can be mixed to

produce tertiary colors, which will appear in their

corresponding locations relative to which hues

have been mixed to produce them. Standard color

wheels show a breakdown of twelve huesthischart can be endlessly expanded, the spectrum

of color is well represented in twelve divisions.

The placement of colors on the color wheel

expresses certain relationships based upon the

relative position of the hues. Two colors directly

across from one another on the color wheel are

known as complementary colors. Three colors next

to each other on a twelve-section color wheel are

known as analogous colors.

Color contrastThe successful use of color comes pri

the implementation of color contrast.

was the first to identify the seven stra

contrast. These strategies have becom

a means to create successful color art

1 Contrast of values

This form of contrast is created by the

light values next to dark values (1a). T

be applied to various color schemes. S

color can be very challenging. Photoshartist the ability to desaturate a comp

read the color strictly in terms of valu

image also represents an analogous c

2 Contrast of proportion/extensio

This method of contrast is achieved th

relative placement and scale of differe

color, i.e., letting one hue occupy a do

of a composition.

3 Contrast of temperature

Colors can be described as warm and

temperature. Placing warm hues next

creates a visual contrast.

4 Simultaneous contrast

This refers to placement of compleme

to create vibration. By placing complenext to one another, a visual vibration

the bordering regions of the color sec

5 Contrast of complements

Combinations such as red and green,

and yellow, and blue and orange creat

color contrast.

6 Contrast of hue

This simply refers to the use of contra

The farther away a color is from anoth

color wheel, the more they contrast on

is similar to the theory behind comple

but more variation can be explored an

dont have to be opposites on the colo

achieve this type of contrast.

7 Contrast of saturationContrast in saturation is achieved by p

saturation color among low-saturation

high-saturation color will naturally pop

draw attention. This can be applied to

combinations but often works nicely w

monochromatic palettes.

Primary, secondary, andtertiary colors

These figures show the progression of hues

in the standard color wheel. Become familiar

with these charts to understand where thevarious hues sit and how they are created.

Complementary andanalogous colors

These figures help to identify

the relationship between

various colors. Keep inmind that these sections

can be rotated to multiple

combinations. Committingthese relationships to memory

is important for painters.

T T

T

P

S

S

S

P

P

T

T

T

COMPLEMENTARY

PRIMARY SECONDARY

TERTIARY

ANALOGOUS

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Art basics

VisualnarrativeOne of the artists many roles isthat of storyteller. An image without

narrative fails to capture the viewersimagination.

Visual artwork often acts as a companion to

literatureideally the image could stand alone and

be understood without the text. Think of cover

images for novels. The best ones are eye catching

but also give a glimpse into the style and genre of

that particular novel.

There are limitations as to what can be

communicated in a single image. Thinking in terms

of film shots can be helpful when deciding upon

the content of an image. Trying to cram too much

content into one image can be detrimental. Consider

the various shots explained below when setting

up a composition.

Establishing shot: These images set the scene.They are often large in scale and zoomed out from

the subject so that a great deal of content can

be in frame at once. They help to describe the

atmosphere, mood, and landscape.

Anticipation shot: This shot sets the stage for what

is about to happen. It creates a feeling of suspense

and uncertainty. This is often the calm before the

storm and alludes to conflict or action to follow.

Action shot: This shot describes a point of

interaction, impact, or exchange. The message

is clear, and the subtleties are out the window.

Aftermath shot: The aftermath shot above

communicates what has happened. Imagine a pointin a story where a character has walked into the

aftermath of a battle and is trying to decipher what

has happened. The tension of the two previous

shots has dwindled, but there is still a story to

be told.

The importance of angles: The angle of view can

also help to tell a story. Flat shots with a centered

horizon line feel stable and calm. Tilting the frame

can add action, tension, or dynamism. A birds-eye

view makes things feel smaller or perhaps weaker

than they actually are; conversely, a worms-eye

view can make things feel larger or more powerful

than they truly are. Combinations of these effects

can also be usefula birds-eye view with a tilt can

create a sense of vertigo.

Chaos

This scene is a great

example of all-out action.

Notice how the tilt of thehorizon adds to the chaotic

nature of the shot. This is a

simple device that can add

a lot of dynamism to an

action shot.

Looming danger

Its unclear whether the figure realizes

what he has in store, but the audiencecertainly does. This sense of tension helps

to draw the viewer into the scene and s ets

the stage for conflict.

Setting the stageThis wide establishing shot

communicates a great deal

of information about the

world. The mood content

and scale of the paintingmake it a perfect way to

introduce a viewer to this

city for the first time.

Visual n

Combining the shots

This matte painting shows

the aftermath of a fallen

meteor, but the faint

spark of light from within

the meteor gives the

impression that thereis more devastation to

come. Often in cinema and

literature the audience is

lulled into a false sense

of security; just when the

action appears to havedwindled, a second more

brutal assault is launched.

This shot depicts an iconic

setting, which also helps to

elaborate on the narrative.

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